Programme

Opera

22.06 sa
19:00—22:30

Igor Stravinsky. The Rake’s Progress

Perm Opera and Ballet Theatre

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23.06 su
20:00

Igor Stravinsky. The Rake’s Progress

Perm Opera and Ballet Theatre

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25.06 tu
19:00—22:00

Wolfgang Amadeus Mozart. The Magic Flute

Soldatov Culture Palace

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26.06 we
21:00

Wolfgang Amadeus Mozart. The Magic Flute

Soldatov Culture Palace

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Perm Opera and Ballet Theatre

Igor Stravinsky (1882-1971)
The Rake’s Progress, an opera (1951)

Libretto by Winston Auden and Chester Kallman

Production Musical Director and Conductor: Fyodor Lednev
Stage Director: Andrey Prikotenko
Set and Costume Designer: Olga Shaishmelashvili
Lighting Designer: Konstantin Binkin
Assistant Conductor: Ivan Khudyakov-Vedenyapin
Assistant Stage Director: Tatiana Poluektova

Perm Opera and Ballet Theatre Production as part of the Diaghilev Festival

16+

The Rake's Progress is Stravinsky's only major opera in the truest sense of the word: this is a multi-act composition with recitatives, arias and ensembles, unalloyed with any other musical and theatrical genres. The deliberate obsoleteness of the form becomes the starting point for modernist play: the opera's music, like its libretto, balances between respect for the past and an ironic perspective on it.
As part of the Diaghilev Festival, the Perm Opera and Ballet Theatre will present the premiere of Igor Stravinsky's opera The Rake's Progress (16+) interpreted by the Artistic Director of the Novosibirsk 'Krasny Fakel' Theatre, director Andrey Prikotenko, and a great connoisseur of the 20th century music, conductor Fyodor Lednev.

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Perm Opera and Ballet Theatre

Igor Stravinsky (1882-1971)
The Rake’s Progress, an opera (1951)

Libretto by Winston Auden and Chester Kallman

Perm Opera and Ballet Theatre Production as part of the Diaghilev Festival

+16

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Soldatov Culture Palace

Wolfgang Amadeus Mozart (1756–1791)
The Magic Flute, an opera-singspiel K.620 (1791)

Libretto by Emanuel Schikaneder

Director Nina Vorobyova
Musical Director and Conductor Evgeny Vorobyov
Guest soloists
The musicAeterna Orchestra

16+

The Magic Flute by Wolfgang Amadeus Mozart is a fairy tale with a double bottom. The opera's plot is saturated with both deep philosophical meanings and theatrical effects. Buffoonery is juxtaposed with high solemnity, while orphic motives are combined with Masonic symbols and ideas of the Enlightenment. Protagonists undergo magical trials to find the ultimate truth. Day fights night, good fights evil, and in the end love, loyalty, and fortitude win — and, in no small part, the magic of the music itself. A new version of the classic masterpiece will be created at the festival by conductor Evgeny Vorobyov, the musicians of musicAeterna, and director Nina Vorobyova.

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Soldatov Culture Palace

Wolfgang Amadeus Mozart (1756–1791)
The Magic Flute, an opera-singspiel K.620 (1791)

Libretto by Emanuel Schikaneder
Director Nina Vorobyova
Musical Director and Conductor Evgeny Vorobyov
Guest soloists
The musicAeterna Orchestra

16+

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27.06 th
21:00

Pascal Dusapin. Passion

Shpagin Plant, Litera A

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28.06 fr
19:00

Pascal Dusapin. Passion

Shpagin Plant, Litera A

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29.06 sa
21:00

Pascal Dusapin. Passion

Shpagin Plant, Litera A

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Shpagin Plant, Litera A

Pascal Dusapin (b. 1955)
Passion, an opera in 10 scenes (2006–2007)

Libretto by Pascal Dusapin and Rita de Letteriis
Director Anna Guseva
Musical Director and Conductor Teodor Currentzis
The musicAeterna Orchestra, soloists, the musicAeterna Dance troupe

RUSSIAN PREMIERE

16+

Pascal Dusapin is one of the most successful composers in modern France, a student of Iannis Xenakis, a graduate of the Sorbonne, and a long-time participant in the Diaghilev Festival. In 2012, he personally attended the premiere of the opera MedeaMaterial presented in Perm. This time the festival addresses his opera Passion (18+) written in 2007. Its plot is based on the myth of Orpheus and Eurydice. An hour and a half action is a time-stretched moment of their parting. Music flexibly follows the dynamics of feelings, as joy, fear, desire, pain, ecstasy, sadness, anger and love alternate in it. The original interpretation of one of the most important works of the 21st century will be presented by the Musical Director of the production Teodor Currentzis, Director Anna Guseva, and the artists of the musicAeterna Orchestra and Choir.

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Shpagin Plant, Litera A

Pascal Dusapin (b. 1955)
Passion, an opera in 10 scenes (2006–2007)

Libretto by Pascal Dusapin and Rita de Letteriis

Director Anna Guseva
Musical Director and Conductor Teodor Currentzis
The musicAeterna Orchestra, soloists, the musicAeterna Dance troupe

RUSSIAN PREMIERE

16+

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Shpagin Plant, Litera A

Pascal Dusapin (b. 1955)
Passion, an opera in 10 scenes (2006–2007)

Libretto by Pascal Dusapin and Rita de Letteriis

Director Anna Guseva
Musical Director and Conductor Teodor Currentzis
The musicAeterna Orchestra, soloists, the musicAeterna Dance troupe

16+

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Concert

20.06 th
19:00

Teodor Currentzis and musicAeterna: Bach “St. Matthew Passion”

The Great Hall of the Perm Philharmonic

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21.06 fr
01:30

Il Duetto Notturno

The House of Diaghilev

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21.06 fr
18:00

Presentation Concert of the musicAeterna Brass ensemble

The Great Hall of the Perm Philharmonic

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21.06 fr
22:00

Miludus: La Folie

Private Philharmonic Triumph

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The Great Hall of the Perm Philharmonic

Johann Sebastian Bach (1685–1750)
The St Matthew Passion

a sacred oratorio for solo voices, double choir and double orchestra with libretto by Picander (Christian Friedrich Henrici), BWV 244 (1727–1729/1736)

MusicAeterna Choir and Orchestra
Alexander Ponomaryov "Vesna" Children's Choir

Guest soloists

Conductor – Teodor Currentzis

12+

One can hardly imagine now that Johann Sebastian Bach’s St Matthew Passion – this cornerstone of all European music of the 18th–21st centuries – had to be rediscovered by twenty-year-old Felix Mendelssohn in 1829. In his native Leipzig’s St. Thomas Church, the oratorio was performed not only during Bach’s lifetime, but also for another half century after (until 1800). However, this masterpiece gained European and later world fame thanks to romanticists – at the time when the principles of music organization and the instruments of the Baroque era themselves fell, as it seemed then, into oblivion. The St Matthew Passion (followed by the Mass in B Minor and other works by Bach) proved to have overcome the stylistic, technological, and ideological gap and speak to the people of the new age in their language. Since then, each epoch has comprehended and interpreted this spiritual oratorio in its own way.

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The House of Diaghilev

Мoncert-enigma
Il Duetto Notturno

Mila Frayonova — soprano, violin
Marina Belova — theorbo

18+

Night-time enigma concerts are one of the traditions of the Diaghilev Festival that define its atmosphere. This is a rare opportunity to spend the shortest nights of the year listening to music of different eras.

It is only after the end of the concert that the music works the musicians have performed are revealed. Such a procedure helps to focus attention — the motion of the senses in response to the course of musical events are the subject of careful observation for all participants in the event. Guessing the composer and the style of a particular composition may also be fascinating: the answers to an enigma will be found in the programme that everyone will receive after the concert.

This year, enigma concerts are taking place in the historic reception room of the House of Diaghilev — the concert hall of the mansion where the great impresario spent his childhood years.

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The Great Hall of the Perm Philharmonic

On the programme: overtures, arias, suites from operas by Mozart, Rossini, Offenbach, Wagner, and Puccini arranged for brass ensemble, and miniatures of various genres.

A brass ensemble has been added to the musicAeterna family: the artists from the brass section of the orchestra united under the leadership of trumpeter Pavel Kurdakov. The first big concert of musicAeterna Brass will take place at the Diaghilev Festival.
Its first part will feature music from famous operas arranged for brass ensemble.
The second part of the concert will remind the audience about the origins of brass ensembles.
As a rule, the broad repertoire of brass ensembles is based on popular, recognizable, and typically dance music. The second part of the musicAeterna Brass presentation concert will be in line with this tradition.

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Private Philharmonic Triumph

Chamber concert
Miludus: La Folie
Works by Lully, Veracini, Handel, Geminiani, Rameau

Jean-Baptiste Lully (1632–1687)
Aria Di rigori armata il seno, entrée 4, act 5 of the comedy-ballet Le Bourgeois Gentilhomme, LWV 43(1670)
Francesco Maria Veracini (1690–1768)
Sonata for Violin and Basso Continuo in D Minor, No. 12 from the collection 12 Sonate Accademiche, Op. 2 (before 1744)
Passagallo: Largo assai
Allegro ma non presto
Adagio
Ciaccona: Allegro ma non presto
George Frideric Handel (1685–1759)
Cantata La Lucrezia (O Numi eterni) for soprano and basso continuo in F minor, HWV 145 (1706)
Recitative O Numi eterni!
Aria Già superbo del mio affanno
Recitative Ma voi forse nel Cielo
Aria Il suol che preme
Recitative Ah, che ancor nell'abisso and arioso Alla salma in fedel porga
Recitative A voi, padre, consorte and arioso Già nel seno comincia
Francesco Geminiani (1687–1762)
Sonata for Violin and Basso Continuo in D Major, No. 1, H. 85 from the collection 12 Sonatas for Violin, Op. 4 (1739)
Adagio
Allegro
Largo
Allegro assai
Jean-Philippe Rameau (1683–1764)
Aria of Madness (La Folie) Aux langueurs d'Apollon from Act 2 of the opera-ballet Platée ou Junon Jalouse, RCT 53 (1745)

Miludus Ensemble:
Mila Frayonova — vocals, violin
Ivan Naborshchikov — violin
Olga Filippova — harpsichord
Marina Belova — theorbo
Alexander Gulin — cello

Elizaveta Moroz — Director

16+

‘Men are so necessarily mad that not to be mad would only be another form of madness’. That is what Blaise Pascal said, one of the most observant thinkers of the 17th century. Madness, la folie, permeated his turbulent era. Devastating religious wars and inheritance battles were followed by brief periods of peace. Adventurers roamed the roads of Europe in an attempt to beat fate. Beginning with the story of Don Quixote’s madness, the art of the new century with every passing year looked more and more intently into the dark depths of human passions — Orlando and Hercules succumbed to the power of madness, Henry Purcell brought the mentally ill to the stage in his songs, and William Hogarth ended the story of the Rake with debt prison and lunacy.

La folie concert by the Miludus ensemble is centred on the cantata Lucretia by George Frideric Handel. It was composed during the composer's stay in Italy and written to a text by Roman Cardinal Benedetto Pamphili who was also the author of The Triumph of Time and Disillusion, the premiere of last year's Diaghilev Festival. Lucretia is actually an opera scene, in condensed form telling the story of a virtuous Roman woman who was raped by the emperor’s son. Unable to endure the shame, she told her husband about the incident and stabbed herself in front of his eyes. The music, at first, traditionally alternates recitatives with da capo arias, but in the second half of the cantata comes out of its banks — unexpected changes of tempo and short ragged phrases express the fatal frenzy of the heroine.

The cantata is surrounded by violin sonatas by two Italians, Francesco Veracini and Francesco Geminiani. They both were outstanding violinists who travelled extensively in Europe and met in London. Both wrote music for the violin at the limit of the technical capacities of their time; it was inventive, extravagant and not always understandable to contemporaries. In the sonatas, both look like heirs of Arcangelo Corelli, whose concert style works mark the beginning of the high Baroque. Their music does not imitate singing and enjoys all the advantages of a solo instrument. It is dynamic, richly ornamented and blends virtuoso passages, dance rhythms, contrapuntal exercises and subtly varied harmonic formulas into a single whole.

The evening opens and closes with arias by two French Baroque classics — Jean-Baptiste Lully and Jean-Philippe Rameau. The operas containing these arias are united by the desire of the characters to overcome the established social order. Jourdain, the protagonist of Le Bourgeois Gentilhomme, a co-authored work by Lully and Moliere, is a bourgeois who received a title of nobility and dreams of the status of a hereditary aristocrat which is unattainable for him. The nymph Plataea from Rameau's opera is convinced that Jupiter in love can elevate her to a higher place in the divine hierarchy than that she is destined to. The era of the Ancien Régime saw such delusions as a dangerous departure from reason, bordering on madness and worthy of punishment. Lully includes a divertissement of Nations in the comedy and composes an aria, the text of which is made up of Italian opera clichés about the ‘sweet torments of love’ (more than two centuries later, Richard Strauss in The Cavalier of the Rose will write a parody of Puccini's aria on the same text). In Rameau's opera, Madness appears on stage as a character and tells the story of Daphne, a nymph who rejected Apollo's courtship and was turned into a tree — Cupid always takes revenge, and love is cruel when he is furious.

Elizaveta Moroz, Director:
‘A chamber music evening infers a theatrical experience, as the audience follows the heroine's attempts to hark to her own consciousness and find reconciliation with the contradictions that torment her. There is not just a single voice hidden inside the heroine, but a whole swarm of voices. At times one can't make them out. At other times they contradict each other. The process of deciphering the inner voices and the opportunity to hear oneself is the central theme of the performance.’

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22.06 sa
01:30

Dimensions

The House of Diaghilev

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22.06 sa
23:30

Meditation Concert | Solstice

Perm Philharmonic Organ Concert Hall

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23.06 su
01:30

Decoration of Silence

The House of Diaghilev

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23.06 su
23:30

THESIS TRIO (Greece): Alpha F

Private Philharmonic Triumph

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The House of Diaghilev

Concert-enigma
Dimensions

Yiorgos Kaloudis (Greece) — cello, classical Cretan lyra

18+

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Perm Philharmonic Organ Concert Hall

Performers:
Petr Glavatskikh, marimba, percussion, arrangements
Amir Khataee (Iran), santoor, tombak

On the programme:
Intro
Andrew Thomas (b. 1939)
Beyond the Faint Edge of the World for marimba solo
Segah, traditional Persian dastgah, santoor solo
Osnat Netzer (b. 1979)
Taksim, a paraphrase by Petr Glavatskikh for marimba and tombak
Keiko Abe (b. 1937)
Dream of the Cherry Blossoms for marimba solo
Shur, traditional Persian dastgah, santoor solo
Pyotr Tchaikovsky (1840–1893)
Arabian Dance from the ballet The Nutcracker, paraphrase and improvisation on a given theme by Petr Glavatskikh and Amir Khataee for marimba and santoor
Hossein Alizadeh (b. 1951)
Nowruz 62 for santoor and percussion
Nebojsa Jovan Zhivkovic (b. 1962)
Ilijaš, paraphrase and improvisation on a given theme by Petr Glavatskikh and Amir Khataee for marimba and santoor

18+

A new project by the regular participant of the Diaghilev Festival, Moscow multi-percussionist, composer and producer Petr Glavatskikh is dedicated to the summer solstice.
The Solstice project is focused on not just proximity, but the interaction of modern works for percussion instruments and Persian classical music. Along with Petr Glavatskikh, the project is co-authored by Amir Khataee, an Iranian composer, improviser, master of performing on traditional Persian instruments tombak (wooden drum in the shape of a cup) and santoor (a type of dulcimer known since Assyria and Babylon times).

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The House of Diaghilev

Concert-enigma
Decoration of Silence

Taya König-Tarasevich — flute-traverso
Konstantin Shchenikov-Arkharov — lute

18+

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Private Philharmonic Triumph

THESIS TRIO (Greece)
Alpha F
vocal chamber music of the contemporary Greek composers

Irini Tsirakidis, mezzo-soprano
Yiorgos Kaloudis, cello, classical Cretan lyra, arrangements
Dimitra Kokkinopoulou, piano

Yiannis Constantinidis (1903–1984)
Songs from The Twenty Songs of the Greek People (1937–1947)
I grab stones and rocks
Castle of Monemvasia
It is hardly dawn, to be weaken up
Late last night, I came
Yesterday, I set off to come
Nikos Skalkottas (1904–1949)
Tender Melody for cello and piano, AK 65 (1949)
Stathis Giftakis (b.1967)
O Mistress mine, poetry of William Shakespeare
Amé desde hace tiempo, poetry of Pablo Neruda
Yiorgos Kaloudis (b.1973)
Trikymia for solo classical Cretan Lyra
Valerio Matola (b.1975)
Songs on the poetry of Angelos Sikelianos
The Suicide of Adjesivano
Anadyomenê
Returning
Vangelino Currentzis (b.1973)
Enigma composition

18+

Thesis Trio is a project by three friends, a mezzo-soprano Irini Tsirakidis, a pianist Dimitra Kokkinopoulou and a cellist, composer and Classical Cretan Lyra virtuoso Yiorgos Kaloudis. Established in 2018, the trio is focusing on the performance of chamber compositions by modern Greek composers.
The programme Alpha F represents a collection of songs by major Greek composers of the 20th century, as well as music pieces by our contemporaries.

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24.06 mo
18:00

A Piano Recital of Boris Berezovsky

The Great Hall of the Perm Philharmonic

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24.06 mo
23:00

'1, 2, 3...'

Private Philharmonic Triumph

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25.06 tu
23:00

A Violin Recital of Olga Volkova

Perm Philharmonic Organ Concert Hall

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26.06 we
18:00

Varvara Myagkova Piano Recital

Perm Philharmonic Organ Concert Hall

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The Great Hall of the Perm Philharmonic

On the programme:
Ludwig van Beethoven (1770–1827)
Sonata No. 13 in E flat major (Sonata quasi una Fantasia), Op. 27, No. 1 (1801)
Andante. Allegro. Andante
Allegro molto e vivace
Adagio con espressione
Allegro vivace
Mily Balakirev (1837–1910)
Scherzo No. 2 in B flat minor, BM. 108 (1900)
Ludwig van Beethoven
Sonata No. 15 in D major (Pastoral), Op. 28 (1801)
Allegro
Andante
Scherzo, Allegro vivace
Rondo. Allegro ma non troppo
Sergei Lyapunov (1859–1924)
Lezghinka, No. 10 from the cycle 12 Transcendental Études for piano, Op. 11 (1897–1905)
Frédéric Chopin (1810–1849)
Scherzo No. 2 in B flat minor, Op. 31 (1835–1837)
Ludwig van Beethoven
Sonata No. 17 in D minor (The Tempest), Op. 31 No. 2 (1802)
Largo — Allegro
Adagio
Allegretto
Mily Balakirev
Scherzo No. 3 in F sharp major, BM. 117 (1901)
Islamey: Oriental Fantasy, Op. 18, BM. 62 (1869)

Pianist Boris Berezovsky offers a programme that spans exactly one hundred years of musical history, from 1801 to 1901. Parallels and unexpected rhymes arise between the works performed in the concert, making it possible to see a single, dynamically developing whole in the piano music of the 19th century.

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Private Philharmonic Triumph

Сhamber concert
'1, 2, 3...'
Solo, duet, trio-sonatas by Carl Philipp Emanuel Bach

Performers:
Taya König-Tarasevich — flute-traverso
Vladislav Pesin — violin
Konstantin Shchenikov-Arkharov — lute

On the programme:
Carl Philipp Emanuel Bach (1714–1788)

Sonata for Solo Flute in A Minor, Wq. 132, H. 562 (ca. 1747)
Poco adagio
Allegro
Allegro

Duet for Flute and Violin in E minor / G major, Wq. 140, H. 598 (1748)
Andante
Allegro
Allegretto

Trio Sonata for Flute, Violin, and Basso continuo in D minor, Wq. 145, H. 569 (1731)
Allegretto
Largo
Allegro

Trio Sonata for Flute, Violin, and Basso continuo in B Minor, Wq. 143, H. 567 (1731)
Allegro
Adagio
Presto

18+

Carl Philipp Emanuel Bach, the second son of Johann Sebastian, was one of the most influential composers of his time. His dynamic and subjectively coloured 'sentimental style' was intended to show genuine human emotions in their natural flow. Philipp Emanuel was one of the first to take music beyond the Baroque, expanding its emotional range, introducing drastic changes in textures and moods based on the principles of rhetoric and drama. He was more highly reputed during his lifetime than his great father. Haydn, Beethoven, Weber and Mendelssohn collected his works and learned to play the clavier with his famous pedagogical treatise, and Mozart claimed that his generation were the musical children of Philipp Emanuel, adding, 'Those of us who are worth anything have learned from him'.

Philipp Emanuel was known as the 'Berlin Bach' due to his thirty years of service at the court of Frederick the Great, Emperor of Prussia. Friedrich was a competent musician. He hosted several hundred musical evenings a year in his palace in Potsdam. The famous painting by Adolph von Menzel depicts one of those evenings. In the centre of the composition, we see the monarch playing the flute and Philipp Emanuel accompanying him on the clavier. There are many works for flute in the catalogue of Philipp Emanuel Bach's compositions. All of them were composed to be played at court; their first performer could well be the emperor himself. Some of these compositions are included in the concert programme.

Philipp Emanuel's Sonata in A minor, Wq. 132 is one of the first ever compositions for solo flute (others belong to his father Johann Sebastian and his godfather Georg Philipp Telemann). It was written in the year of the completion of Sanssouci, the emperor's favourite residence, and published 17 years later — apparently in secret from Frederick, who forbade printing and publicly performing compositions intended for him. The music of the sonata is notable for its combination of gallantry and subjectivity. From time to time, characteristic angular motifs appear in it, forcing the flute to speak in several voices at once, and at the end of the first and third movements we hear bold rhetorical pauses — whole bars left completely empty. The order of the movements, in which the slow one is followed by two fast ones in a row, is also atypical both for the Baroque and for the classics, but it is found more than once in the sonatas by Philipp Emanuel.

The duet for flute and violin deepens the rift between two musical eras, the passing and the approaching. Its first movement resurrects the spirit of Baroque polyphony. This is followed by two lively parts in which the moods change in the Rococo manner, capriciously and whimsically.

Two trio sonatas were written during Philipp Emanuel's studies at the university (the Bach family knew well that a musician needed a university education so that he would not be treated like a servant at court). In 1747, these were redesigned to better suit new musical tastes. In these sonatas, Baroque music, permeated with a single affect, as if trying to break out beyond the limits assigned to it. This is most noticeable in the slow movements — it was not by chance that composers of the 'sentimental style' loved Adagio and were most willing to show their ingenuity in them.

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Perm Philharmonic Organ Concert Hall

On the programme:
Eugène Ysaÿe (1858–1931)
Six Sonatas for solo violin, Op. 27 (1923)

Sonata No. 1 in G minor, dedicated to Joseph Szigeti
Grave
Fugato
Allegretto poco scherzoso
Finale; Con brio

Sonata No. 2 in A minor, dedicated to Jacques Thibaud
Obsession; Prelude
Malinconia
Danse des Ombres; Sarabande
Les furies

Sonata No. 3 in D minor, 'Ballade', dedicated to Georges Enescu
Lento molto sostenuto – Allegro in tempo giusto e con bravura
Sonata No. 4 in E minor, dedicated to Fritz Kreisler
Allemande (Lento maestoso)
Sarabande (Quasi lento)
Finale (Presto ma non troppo)

Sonata No. 5 in G major, dedicated to Mathieu Crickboom
L'Aurore
Danse rustique
Sonata No. 6 in E major, dedicated to Manuel Quiroga
Allegro giusto non troppo vivo

18+

Ysaÿe composed six solo violin sonatas in July 1923, in just a month, in a fit of inspiration. He was 65 years old, he was a maitre of the violin and, looking around him, summed up his life journey. The sonatas were a reflection on himself and his place in the history of violin playing.

The complexity of the sonatas is phenomenal. Ysaÿe expands the possibilities of the violin to the limit forcing the performer to play chords of six sounds on four strings, making inaudible vibrations and resonances of the instrument part of the music, and as if trying to convey to the audience the inner bodily experience of the violinist. The cycle requires the performer to have perfect technique and abilities for acting, however, the technical skill is not needed per se, but so that the creative spirit of the musician could express itself without hindrance.

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Perm Philharmonic Organ Concert Hall

On the programme:
Johann Sebastian Bach (1685–1750)
The Overture in the French style, BWV 831 (1735)
Overture
Courante
Gavotte I/II
Passepied I/II
Sarabande
Bourrée I/II
Gigue
Echo
Sergey Akhunov (b. 1967)
Two Sketches (2023)
Pavel Karmanov (b. 1970)
Shumanniana (2018)
Johannes Brahms (1833–1897)
Ballades for piano, Op. 10 (1854)
I. Andante in D minor
II. Andante in D major
III. Intermezzo. Allegro in B minor
IV. Andante con moto in C major
Nikolai Medtner (1880–1951)
Sonata-Reminiscenza, No. 1 from the cycle Forgotten Melodies, Op. 38 (1919–1922)
Sergei Rachmaninoff (1873–1943)
Preludes No. 7, No. 4, No. 10 from the cycle Ten Preludes for piano, Op. 23 (1901–1903)
Prelude No. 8 from the cycle Thirteen Preludes for piano, Op. 32 (1910)

Varvara Myagkova is a remarkable phenomenon of the recent times. It was the pianist Boris Berezovsky who 'discovered' Varvara Myagkova and invited her to perform at his festival Summer Evenings in Yelabuga. Since 2019, her solo career has seen a rapid progress.
The programme will open with The Overture in the French style by Johann Sebastian Bach
Two miniatures created in 2023 by composer Sergei Akhunov, in his signature dreamy spirit gently avoiding any stylistic restrictions, will become the core of the first part of the concert.
It will be completed by the opus of the contemporary Moscow composer Pavel Karmanov Schumanniana – a sort of collage assembled of fragments from the Piano Sonata No. 3 by Robert Schumann
In the second part of the concert, Varvara Myagkova focuses on the piano classics of mature and late Romanticism.

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27.06 th
18:00

Brahms, Franck: Violin Sonatas

The Great Hall of the Perm Philharmonic

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28.06 fr
22:00

MCME: Hymns and Lamentations

Perm Philharmonic Organ Concert Hall

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The Great Hall of the Perm Philharmonic

Chamber concert
Performers:
Pavel Milyukov, violin
Vadim Rudenko, piano

On the programme:
César Franck (1822–1890)
Sonata for Violin and Piano in A Major, FWV 8 (1886)
Allegretto ben moderato
Allegro
Recitativo-Fantasia (ben moderato)
Allegretto poco mosso
Johannes Brahms (1833–1897)
Sonata for Violin and Cello No. 3 in D Minor, Op. 108 (1886–1888)
Allegro
Adagio
Un poco presto e con sentimento
Presto agitato

Violinist Pavel Milyukov and pianist Vadim Rudenko will perform a programme of two compositions, the crown jewels of late Romanticism chamber music. Technically sophisticated and compositionally complex, the violin sonatas of César Franck and Johannes Brahms accommodate a wide range of images and emotional states and set high demands on both performers and listeners.

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Perm Philharmonic Organ Concert Hall

Hymns and Lamentations
A Chamber Concert

Performers:
Moscow Contemporary Music Ensemble (MCME)

On the programme:
Arthur-Vincent Lourié (1891–1966)
The Lament of the Virgin. Fragment of a Pious Song of the 13th Century | Pleurs de la Vierge Marie. Fragment d'une chanson pieuse du XIII siècle for voice, violin, viola and cello, Op. 26 (1915).
Translation from the Old French by Mikhail Kuzmin
Alfred Schnittke (1934–1998)
Hymns for chamber instrumental ensemble (1974–1979)
Hymn No. 1 for cello, harp and timpani
Hymn No. 2 for cello and double bass
Hymn No. 3 for cello, bassoon, harpsichord and bells
Hymn No. 4 for cello, bassoon, harpsichord, harp, timpani, bells and double bass
Alexey Sysoev (b. 1972)
Sirotinochka | The Little Orphan for soprano, chamber ensemble and electronics set to the lyrics of the folk lamentation of the Russian North

12+

Within the programme ‘Hymns and Lamentations’ of the Moscow Contemporary Music Ensemble, three generations of the Russian avant-garde composers enter into a dialogue, exploring the innermost world of deep human experiences: ritual suffering, euphoria, and spiritual experience.

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Performance

24.05 fr
21:00

Anton Chekhov. Three Sisters

Perm House of Folk Art

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23.06 su
17:00

Anton Chekhov. Three Sisters

Perm House of Folk Art

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23.06 su
18:00

Okho

Perm Academic Theatre-Theatre

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24.06 mo
01:30

'If only we knew, if only we knew!'

The House of Diaghilev

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Perm House of Folk Art

Gran' Drama Theatre (Novokuibyshevsk)
Anton Chekhov. Three Sisters
If only we knew, if only we knew!

Production – Denis Bokuradze
Set Design – Denis Bokuradze with the participation of Viktor Nikonenko
Costume Designer – Ursula Berg
Lighting Designer – Evgeny Ganzburg
Composer – Arseny Plaksin
Choreographer - Alexander Shuisky
Assistant Choreographer – Irina Pavlova
Video Sequence Director – Leonid Yanshin

18+

Drama Theater "Gran" from the small town of Novokuibyshevsk in the Samara region came to be known throughout Russia in the 2010s, when the performances of the new Artistic Director Denis Bokuradze one after another began to get into the long and short lists of the 'Golden Mask' Russian National Theatre Award, and to receive nominations and win prizes from this and other Russian theatre awards. Denis Bokuradze, an actor who matured professionally in the theatres SamArt and Gran', and a director who combined the chamber space of the theatre and major dramaturgy, classics and modernity, has been staging a lot in Moscow in recent years: at the Taganka Theatre and the Theatre of Nations. In his native Novokuibyshev theatre company, he created a cohesive troupe and production team, preserving the spirit of a studio and passion for careful elaboration of details.

The premiere of the play Three Sisters took place in February 2023. Chekhov's text is not only preserved in its entirety, but expanded with the help of plastic theatre techniques. The protagonist (who is taking an active part, and not just dreaming vainly) of the production is time. The time is manifested in the dials projected onto the backdrop, the ticking of the clock woven into the soundtrack by Arseny Plaksin, and is perceived in physical sensations. The performance lasts for five hours, and the agonizing wait which Chekhov's characters dwell in is transmitted directly to the audience. The artists act very close to the audience, they address those sitting in the hall asking them to move from one seat to another, as if reminding them: 'This is all about you.'

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Perm House of Folk Art

Gran' Drama Theatre (Novokuibyshevsk)
Anton Chekhov Three Sisters
If only we knew, if only we knew!

18+

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Perm Academic Theatre-Theatre

А physical drama
Set to music by Iannis Xenakis and Joseph Tompkins
Choreographer: Vladimir Varnava

Programme:
Iannis Xenakis (1922–2001)
Rebonds A/B for percussion solo (1987–1989)
Okho for three djembe (1989)
Joseph Tompkins (b. 1970)
To Varese for percussion solo (2015)
Iannis Xenakis
Persephassa, percussion sextet (1969)

Performers:
musicAeterna Dance
Artistic director: Anna Guseva
Choreographer: Anastasia Peshkova

Moscow Percussion Ensemble
Artistic director: Andrey Volosovsky

12+

Okho is a physical drama for nine dancers of musicAeterna Dance and six percussionists of the Moscow Percussion Ensemble. The drama is based on cosmogonic myths that in one way or another interpret the theme of the transformation of Chaos into Cosmos (Order). The stage action unfolds between dancers and musicians in a common field of attraction and repulsion, creation and destruction. In the juxtaposition of movements, intense pulsation of percussive timbres and rhythms, the drama participants explore the limits of their physical abilities to discover where the body ends and pure energy begins.

The performance Okho follows the ideas of the Greek classical yet avant-garde composer and architect Iannis Xenakis which he expressed in his music for percussion instruments.

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The House of Diaghilev

Enigma event
'If only we knew, if only we knew!'

Gran' Theatre artists:
Yulia Bokuradze
Evgenia Arzhaeva
Vera Fedotova
Maksim Tsygankov

18+

Nocturnal enigma events are one of the traditions of the Diaghilev Festival that define its atmosphere. This is a rare opportunity to spend the shortest nights of the year immersing into creative work of the artists of the Festival.

It is only after the event is finished that the music works that have been performed are revealed. Such a procedure helps to focus attention — the senses set in motion by the train of artistic thought are the subject of careful observation for all participants in the event. Guessing the authors might also be a fascinating puzzle — the solutions will be found in the programme that everyone will receive at the end of the meeting.

This year, enigma events are held in the historic reception room of the House of Diaghilev — the concert hall of the mansion where the great impresario spent his childhood years.

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29.06 sa
18:00

N’Caged: ‘It Seems That Everything Kicked off Because of Gesualdo’

Private Philharmonic Triumph

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Private Philharmonic Triumph

‘It Seems That Everything Kicked off Because of Gesualdo’
Concert-reading

The author of the project and the literary and stage adaptation Ksenia Anufrieva

Performers:
N’Caged Vocal Ensemble
Arina Zvereva
Anastasia Polyanina
Olga Rossini
Sergey Malinin
Ilya Laptev

16+

Created by Arina Zvereva in 2015, the vocal ensemble N'CAGED is widely known for its interpretations of contemporary music, often written specifically for this group. Since 2015, the ensemble's soloists have taken part in the Stanislavsky Electrotheatre productions, received nominations and prizes of the Golden Mask National Theatre Awards for their work. Chamber projects, including site-specific ones and those that took place in museums also form a large part in the work of the ensemble.
A new format — a concert-reading — appeared in line with the ensemble’s track. The project was inspired by the exhibition Named by Vasari. Mannerism, which has been held at the NCCA Nizhny Novgorod — Arsenal from the autumn of 2023 to the spring of 2024.

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